The mechanisims of the transformation of living material into the literary text in Valery Shevc huk’s cyclus «On the bank of the time»
Journal Title: Проблеми сучасного літературознавства - Year 2018, Vol 0, Issue 27
Abstract
Valery Shevchuk, an author of the 1960s, has a memorable cyclus «На березі часу’ («On the shore of the time»), which consists of five already published books — «На березі часу. Мій Київ. Входини’ («On the shore of the time.» My Kyiv. Entering «)(2002), «На березі часу. Мій Житомир. Хата і рід» («On the shore of time. My Zhytomyr. Hata and the family») (2007), «На березі часу. Мій Житомир. Світ перед очима. Пошкілля» («On the shore of the time. My Zhytomyr The world in front of the eyes. After school «) (2009), «На березі часу. Ті, котрі поруч: Спогади про сучасників» («On the shore of the time. Those who are near: Memories of contemporaries «) (2016),»На березі часу. Ті, котрі поруч: Спогади про митців і вчених («On the shore of time. Those near: Memoirs of artists and scientists «) (2017); fragments of other volumes were published in the periodicals; Manuscripts and annexes are still not published. The cultural value of this frail epic canvas is determined by its extraordinary quality, information capacity, diversity and depth of analysis of the image, so that society receives a work-document of the breakthrough of centuries and millennia of the innovative metazanagra structure, which highlights the author’s biography and the course of literary existence of the creative generation of the sixties, and most importantly — it offers memories, historical, philosophical, psychological, literary-critical thoughts, etc., the description of the outlines of the particular time, people and the words in its measurement. The problem that led to the writing of this article was the lack of verified approaches to reading and interpreting the works of the cyclus, the existence of contradictory, and even doubtful allegations in regarding his design, aesthetic nature, genological identification, and significance in general. The way of investigation of the artistic whole of the work-cyclus was chosen the mechanisms of the transformation of living material into the literary text, which are known to be determined by the author’s artistic outlook, is a way of reflecting the reality, a creative genius characterized by a complex of conscious and unconscious intentions, which are operational in the creative process and slowly materialize creative idea. The simplest mechanisms are idealization, typification, symbolization, individualization as forms of artistic generalization, and on the basis of them there are text-based factors of various levels — stylistic, thematic, genre, narrative, compositional, etc., which allow to identify the artistic whole as an artistic phenomenon. It induced us to this need to develop an adequate reception of the text of the cycle, which would have decoded his artistic design and brought the «horizons» closer to the readers and authors in interpreting the product of an innovative artistic form. The analysis of the level attestations of the text is based on the literary and critical material and led us to the realization of such artistic parameters of the text as: 1) modernist stylistics (neo-realistic, neo-arctic), which simulates the whole on the principle of play and mosaics, is opened to recognision of objectivity, detailism, historicism in the design of images, and at the same time gives them the spiritual depth, the blurring of the outer contour, the propensity to interact with each other and produces synthesis at all levels of the work; 2) autobiographical themes, the result of which is the formation of a spherical background of the work with an emphasis on the nuclear author’s «I», which touches to the plurality of other human (or even object) spheres from the nearer or further to the author of the circles; as well as the spiritual-creative (artistic, literary, literary-critical, culturological) plane of the work — the main activity is to measure the author-writer; 3) metastyle format of the work as a memoir, documentary and artistic alloy, in the structure of which «mix» history, chronicle, memoir, diary (note «денник» — as the fixation of the most important information); business, official, scientific, journalistic, artistic «their» and «foreign» textual, as well as non-textual fragments; an epic narrative (privately- owned) with a tendency toward large-scale consolidation (national epic), lyrical confession, light informal utterance (essay), eventually presenting the original aesthetically harmonious product-symbiont; 4) intellectual narrative of the work, the depth and complexity of the content, the game of meaning, their plurality, irony, incrustation of the main text non-fiction comments, etc.; At the same time recognition of determinism, interest in history, society, fact, analyticity; 5) complex composition, chronicle-cyclic, mosaic, with a tendency to the narrative and imitation of the events in the books of tales-essays and labyrinthine-kaleidoscopic in the books of memoirs. Interpretation of the work in the measurement of these form-conscious axioms — regardless of the chosen methodological approach — will help to know its uniqueness in the unity of the author’s idea and the artistic and aesthetic nature of the whole.
Authors and Affiliations
Nataliya Borysenko
Keywords
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- EP ID EP632479
- DOI 10.18524/2312-6809.2018.27.146411
- Views 64
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